In July of 2019, Solipsists Unite! released the new album Staying Up Late To Make Music To Fall Asleep To. This is the the second full-length Fuzzboy album.

True to its name, the album was mostly created in the wee hours. Drawing inspiration from several electronic musicians for the initial thrust of the pieces, the ultimate result — he hopes — is a sound that is uniquely his own.

All tracks were created in Caustic 3 on an Android phone, with final mastering done in Audacity. Field recordings for the "Nakajima Design" tracks were made using a Marantz PMD620 (I) and an Android phone (II and III), using the internal microphone in all cases.

In March of 2007, Solipsists Unite! released Manipulated Field Recordings with Li’l Marshall. This was the first Fuzzboy release in over a decade, and the first full-length Fuzzboy album ever.

Manipulated Field Recordings, solidly rooted in the tradition of musique concrète, is a set of recordings of a synthesizer toy in its native habitat, turned introspective and occasionally spooky through computer processing. Each CD package is hand-made and uniquely numbered. (45 instances were produced: a prototype run of 15 and a production CD-R run of 30.)

The album celebrates the addition of a Thingamagoop to the Fuzzboy equipment lineup, and it consists of three lengthy pieces (two clock in at about twenty minutes apiece, and the other at about ten) that cover a range of territory: The first has the feel of a guided tour through a bizarre factory. The second is reminiscent of a jaunt through a field of mechanical crickets. The third has a lonely city feel to it, with ominous overtones.

The unifying aspect of the work as a whole is that the songs were all produced in the same manner: Li’l Marshall the Thingamagoop was set up out in the open in various positions / environments (never in a studio) and recorded live for several minutes at a time. The recordings for a particular piece were made on a single day (for which the piece is named). Then, over the course of several days, the various recordings were filtered, manipulated, and mixed, only rarely being looped or repeated. The three acceptable results of this process were included in the album.

It might be classified as merely “musique concrète,” “ambient experimental,” or “traditional industrial noise,” but however you want to file it, the album is proof that neither strong tonality nor a ubiquitous beat are required for music to move one’s soul.